creative writing theme park

How one theme park inspired a creative writing project

March 29, 2020, 7:44 PM · If you’re as frequent a visitor to theme parks as I am, you probably think you understand them pretty well: the systems, the rides, and all the little hacks we adopt that give us a sense of ownership of these spaces.

But is there a side we miss out on? Can art show us something new about theme parks?

The Liminal Residency is “an alternative writers’ retreat which takes place in a range of neglected and unusual spaces,” assembling teams of writers to create works in response to these locations. I stumbled across it a while ago, but their most recent project in particularly caught my eye - Alton Towers, the biggest theme park in the UK.

The resulting book is fascinating and full of unexpected, playful and moving responses to a place I thought I knew well. The majority of pieces take the form of short prose, exploring a variety of perspectives on how theme parks can define key moments in our social development and shaping our lives.

If you’re a regular to a site like this, you probably don’t need me to convince you of the inherent artistic value of great theme parks. But the book got me thinking about how rare it is to see work like this about themed attractions - to have one form of art respond to a very different one. So I got in touch with co-founder Krishan Coupland, who spoke with me about the project, their ambitions, and what he learnt in the process of making it happen.

Ben : Could you tell me a little bit about yourself and the Liminal Residency project?

Krishan : I never really know what to say about myself normally. But I write things, sometimes I write little interactive things, all sorts of things. I do a whole bunch of projects that are all basically related to writing, and the Liminal Residency is one of those.

It's me and Elouise Shepherd who organise all of the residencies. We work with different people for each project and have different experiences brought into each one. We just try to be as open as possible in terms of who we bring along, what happens on the residency and what we end up doing.

Ben : Had you worked with some of those writers before?

Krishan : No, I'd never met any of them!

Ben : Oh wow! That's quite a big thing to jump into with a group of strangers: “here we are at Alton Towers putting a book together.”

Krishan : It was very strange, yeah. They were incredibly patient with what was a very strange weekend. I proposed Alton Towers because I worked there for a brief period of time, and I found it an absolutely fascinating place that has a lot of neglected spaces as part of it, and contains a multitude of different spaces. We wandered into the towers themselves, which I think some people were a little bit nervous about because you don't know if you're supposed to be in there or not!

Ben : Can you tell me more about how the weekend of the residency worked?

Krishan : We were very lucky to get Arts Council England funding for the project - so we could all stay on-site in one of the hotels and use their conference centre as well, which was incredibly useful. We all arrived on the Friday, said hello to each other, had a bit of a wander. On the Saturday we spent the day in the conference room, in the hotels and in the peripheral areas of the park. And on Sunday we spent most of the day in the park and took turns each to lead a session.

The sessions were everything from a writing exercise, to a Vision Quest, to engaging with the landscape in an unusual way. It could be anything the writer wanted to do – they would lead the group through that for an hour or two.

In terms of facilitating during the residency, it was pretty useful to have worked there. I knew my way around the resort pretty well and knew how to get to some interesting bits of it; my role during the residency was largely, you know, the guy who used to work there.

Ben : What did you do when you worked there?

Krishan : It was my first job out of university. I worked as a porter in the hotel, and then I also briefly worked on the games team.

Ben : I assume the writers all had different approaches; how did that all fit together?

Krishan : Interesting things arose from it. For example, Gaynor Jones is an excellent flash-fiction writer, and she introduced some really interesting techniques in terms of editing and things like that. We did some of the other sessions in different areas of the park, which naturally gave them a different tone and feel. Each of them was a real different experience, giving us an insight into how that person worked and some new tools for our own work, in terms of how to write and how we make things.

Ben : I’m really interested in how an artistic project like this can offer a value maybe to the way that we engage with these sort of visitor attractions that are seen as “distractions.” And I don't mean to say that Alton Towers is necessarily the same thing as a Caravaggio or whatever, although there are definitely aspects of that kind of artistry to it. But I mean how these things are fixtures within our lives, right? And we sort of grow and change within them and in response to them – like you say, you worked there, and that is presumably something that has stayed with you. And how they shape the way that we see the world and interact with other people.

I'm thinking particularly of Alison Powell’s beautiful cycle of moments at the start of the book [a sequence of episodes about a developing relationship, played out in the shadow of the Oblivion rollercoaster]. In reflecting on what is within the theme park in an abstract way, it speaks in a much wider way to how we engage as a society, and how we as people engage with those attractions.

Krishan : A place becomes a reflection of how you treat it. So if you're wandering around a theme park doing some weird writing exercises, it's easy to treat that as like a bit of a jolly. It's not the normal mode of engaging with a theme park – where you're going there for a day off, a day of fun. But I think also if you treat somewhere as a place that has a history, as somewhere that can be something multitudinal and three-dimensional then it sort of necessarily becomes that. At least in your experience. So there was definitely some discussion of ways of seeing and ways of experiencing when you're in a place. And I hope that the book reflects that a little bit.

And again, having a book that exists in the world that treats Alton Towers in that way is, I hope, presenting another vision of it and another way of seeing it that will contribute to the many different ways that people engage with that space.

Ben : Have you had any responses from people who've read it that have surprised you or stuck with you?

Krishan : We've had some interesting responses. I think what it generally prompts is: almost everyone has a memory relating to Alton Towers. So often on reading the book, people will want to share those memories.

I did a lot of research, and I've always known more than the average person about the park. So hearing these memories from these people – and they're often very specific, very specific memories that feel like bits of the park I've never been able to see before – is wonderful.

Ben : It's interesting that you mention doing research into the history of it. I noticed that it kind of runs through all the pieces – but in particular with your own contributions, this real desire to uncover and explore the deep history of the park. I definitely learnt some new things! What was it about that that you were drawn to as a writer?

Krishan : I've got a particular fascination with derelict spaces. That's something that really interests me; that there's this theme park that is one of the premier attractions in the UK, possibly the biggest – they certainly say they're the biggest – and thousands and thousands of people every day go there, and yet there's still these abandoned spaces. Several abandoned buildings, several abandoned paths and areas within the park itself. It just seems crazy to me. And also, like a microcosm of how our history in the built environment is all around us but we just ignore it, or don't see it, or build all over it, and you can really see it at work in Alton Towers.

Ben : In the package with the book, there was a couple little surprises. The polaroids, and I got a fragment of poncho. Why was that an important thing for you to include?

Krishan : The photos were photos that me or one of the writers took during the weekend, made into polaroids, and the samples are all a range of different things from that weekend. The ponchos were actually gifted to us by the conference centre, as a mark of their enthusiasm for customer service, so... That was wonderful, it was raining terribly that day. Very useful, and we've shared them with the world.

In one sense it felt appropriate to do this for Alton Towers, because visiting a theme park... It's this collection of things, it's this day that you almost unpack, and you almost always end up with a souvenir at the end of it. You always end up with maybe a photograph or something like that, so thematically it felt kind of right to do these things. But I also really like the idea of an archive being broader than necessarily just written material. So there are 200 copies of the book and that's all there will ever be, but each of them comes with a sample, each of them comes with a polaroid, and that's how they'll be indexed in libraries and things like that.

I think you preserve something more when you include a physical object, when you include a photograph, things like that, and I think it creates a more holistic picture of the place. And these things aren't going to live forever. I would find it immensely exciting to find some old bit of something from Alton Towers in a bookshelf somewhere. So in a sense, it's a bit like a time capsule as well. Just preserving that little thing for some time in the future.

Ben : Was there anything – specifically for you, someone with history with the park and the place – was there anything that you came out of the other side of the residency either having learned about the place, or a change in perspective?

Krishan : Yeah. I had one vision of it from the time when I worked there. I was much younger then and was probably a little bit intimidated by the place. You know, it was this huge resort, I am just some guy who doesn't really know what he's doing. I was just kind of scared of messing up the whole time. But going back and exploring it in this way... I also like exploring a place very thoroughly - it makes you feel as though you slightly own it. Or at least you're very comfortable there. So I think at the start of the weekend I was a little bit uncomfortable, a little bit nervous, a little bit over-awed by the place. And by the end, I really felt I'd come to know it, and come to own it in a certain way. And certainly I'd seen bits of it that most people would never see, and related to it in some quite strange ways that perhaps people never would. So that made me very comfortable there, and it gave me a real sense of ownership and connection with the park.

Ben : And do you think approaching it from an artistic perspective gives you a different view?

Krishan : I don't know whether the artistic perspective inherently makes it different, or whether it's all of the stuff that comes with enacting an artistic practice in that environment. The outcome of this, what I was trying to make, was this book and some pieces for the website, interviews and things like that. I suppose I was looking at the park in a different way because of that, I was interacting with it in a different way because of that. I think part of doing art is that in the course of actually making, you do things differently than you normally would do, and you see things differently that you normally would do. You're definitely exposed to things in a different way.

Ben : Are there other places you're currently looking at for the next residencies?

Krishan : We've got a couple on the agenda to investigate. In terms of theme parks, I'm very interested in Spree Park in Berlin, which is a completely abandoned theme park, which was one of the only theme parks available inside Germany. And outside of theme parks, we're doing something with laundrettes. And we've got a lot of creaky old hotels and haunted buildings.

The Alton Towers book is available through the Liminal Residency website, www.liminalresidency.co.uk/portfolio/alton-towers-resort .

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AMUSEMENT PARK

Never struggle with Show-and-Tell again. Activate your free trial or subscribe to view the Setting Thesaurus in its entirety, or visit the Table of Contents to explore unlocked entries.

HELPFUL TIP:

Textures and sensations:, possible sources of conflict:, people commonly found in this setting:, setting notes and tips:, related settings that may tie in with this one:, setting description example:, techniques and devices used:, descriptive effects:.

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Setting Description Thesaurus: Amusement Park

October 11, 2008 by BECCA PUGLISI

Ferris wheel, roller coaster, haunted house, log ride, tea cup ride, sizzler, swinging pirate ship, mazes, fun house mirrors, Psychic tent, spinning apple ride, airplane ride, pony ride, boat rides, water gun boats, mini golf, go carts, bumper cars, merry-go-round, slides, kiddie ball pit/climbing area, carnival games: ring toss, guessing games, floating duck fishing…

Too-loud music, screams, laughter, cheering, chanting, singing, bells, crying, clanking ride chains, whooshing of air brakes, chugging machinery, squealing brakes, feet running, people calling out to each other, corn popping, fries/donuts sizzling in vats of oil, pinging sound of game targets, pinball machines, balls rolling and thudding down game chutes or hitting the booth backdrop, balloons popping, the jingle of change…

Cigarettes, cotton candy, popcorn, french fries, mini donuts, grease, sugar, hot pavement, oiled machinery…

All manner of food & drink: popcorn, cotton candy, candy apples, burgers, corn dogs, doughnuts, ice cream, chocolate, fries, chips, pop, slushies, water, lemonade, rock candy…

Metal bars, seats with cracked padded cushions, handles with chipped paint, seat bets, plastic steering wheels & levers, worn balls, smooth plastic rings, greasy food, dripping ice cream, blotting blobs of ketchup off a shirt, crinkling up a hamburger wrapper, the icy cool of holding a fresh water bottle on the fingertips, thirst…

Helpful hints:

–The words you choose can convey atmosphere and mood.

Example 1: At the top of the Ferris wheel, the musical roar of the carnival dimmed, letting in the sound of the Amy’s excited giggles and the crinkle of paper from the rolled-up bag of popcorn she held tight in one small fist. We shared a grin as she kicked her feet out at the open air. I loved this moment, I lived for it every year–when we reached the pinnacle of the rotation as the carriage opposite us stopped to exchange passengers. I pulled in a deep, clean breath. For one moment everything seemed so clear, so full of potential. So reachable. I could do anything I put my mind to.

The wheel shuddered to life, pulling forward, and then down. As we sank toward the ground my mind returned to the fight I’d had with Mary right before I left home, the constant buzzing of my work phone in my pocket. As we descended I grew heavier, the fog of music and noise enveloping me, dropping me back into reality….

–Similes and metaphors create strong imagery when used sparingly.

Example 1: (Metaphor)  Joel shoved his broom against the dirty concrete, shuffling along the peanut shells, candy wrappers and bottle tops. After the rides were grounded and the music silenced, the fairground show its true colors. Not many saw it as he did, when the wind brushed hot dog wrappers up against greasy smeared tent flaps and the moonlight pointed out the faded signs and peeling paint. Once the last echos of laughter had disappeared along with the flashing lights and colorful balloons…well, peel back the carnival glitz and all you find is a corpse staring back at you….

Think beyond what a character sees, and provide a sensory feast for readers

Setting is much more than just a backdrop, which is why choosing the right one and describing it well is so important. To help with this, we have expanded and integrated this thesaurus into our online library at One Stop For Writers . Each entry has been enhanced to include possible sources of conflict , people commonly found in these locales , and setting-specific notes and tips , and the collection itself has been augmented to include a whopping 230 entries—all of which have been cross-referenced with our other thesauruses for easy searchability. So if you’re interested in seeing a free sample of this powerful Setting Thesaurus, head on over and register at One Stop.

On the other hand, if you prefer your references in book form, we’ve got you covered, too, because both books are now available for purchase in digital and print copies . In addition to the entries, each book contains instructional front matter to help you maximize your settings. With advice on topics like making your setting do double duty and using figurative language to bring them to life, these books offer ample information to help you maximize your settings and write them effectively.

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and its sequels. Her books are available in five languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers —a powerhouse online library created to help writers elevate their storytelling.

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Reader Interactions

March 13, 2021 at 9:53 pm

This is extremely useful! My teacher needed me to find phrases to help me in my composition. I surely picked up a lot of good phrases while using this website!!

May 27, 2010 at 12:33 pm

This perfect – thank you! I have a carnival scene that is the pivitol in my novel and this will come in handy!

November 17, 2009 at 2:06 pm

It is very interesting for me to read this blog. Thank you for it. I like such topics and anything that is connected to this matter. I definitely want to read more on that blog soon.

October 19, 2008 at 10:31 am

Personally, I prefer seaside amusement parks. 🙂 Ironically enough, when this posted, I was at the Santa Cruz Beach Boardwalk riding rides and eating food that I’d never eat at home. Coney Island and Santa Cruz have places in my heart. Even though Coney Island is slowly being dismantled. *grumble* But one of my favorite smells is that amalgam of fried food, sweets, cotton candy, salt water taffy and everything else that’s sold on the Boardwalk. That combined smell is sucha comfort.

October 15, 2008 at 4:49 pm

Wow–high praise, Fairchild! I consider myself an upstart, too!

October 15, 2008 at 4:22 pm

Oh, my goodness! I compeletely did not even see your setting thesaurus. Thank you! Thank you! Thank you!

You gals are wonderful. I hope you know you are helping a whole generation of upstarts to become better writers, and will probably have a hand in much of the richer literature to come.

October 13, 2008 at 4:56 pm

Becca, only the finest cuts of meat go into hot dogs–everyone knows that the whole ‘gristle and butt meat’ is an Urban Myth.

October 12, 2008 at 8:10 am

Another wonderful post! Just reading all the descriptive words I was there, in the amusement park.

October 11, 2008 at 7:43 pm

Wonderful, Angela. Would you like to tell us what they put in hot dogs and ruin that for us, too?

October 11, 2008 at 6:16 pm

Such a fun setting! I feel like I’m at Disney already!

October 11, 2008 at 10:57 am

Oh Marian. Marian, Marian, Marian. Have you never made doughnuts or seen them being made?

You know what…never mind. We’ll live the fantasy together!

YES Doughnuts are baked. Perfectly healthy, full of broccoli and spinach and other good things! Eat!

October 11, 2008 at 9:30 am

Until now I didn’t know donuts were fried in “vats of oil”. I thought they were baked.

And I can’t help thinking back on all the donuts I’ve ever eaten, for some reason…

Disney Writing Prompts: Dive into Magical Disney Worlds

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

1. Explore the Enchanting Imagery: Unleash your creativity and transport yourself to iconic Disney settings

2. unlock character development: discover how disney’s beloved characters can inspire compelling narratives, 3. unleash the power of disney songs: write captivating lyrics or use melodies as a springboard for storytelling, 4. craft unforgettable villains: learn from the best and create your own unforgettable disney-style antagonists, 5. create magical adventures: embark on your own thrilling quests and weave tales in the spirit of disney’s adventure-filled worlds, 5. create magical adventures, 6. infuse disney magic into everyday stories: discover ways to sprinkle a touch of disney enchantment into your everyday writing, writing possibilities:, 8. share your disney dreams: find platforms and communities to share your disney-inspired writing and connect with fellow enthusiasts, 8. share your disney dreams, frequently asked questions, wrapping up.

Looking for a dose of enchantment and creativity? Explore these delightful Disney writing prompts that will transport you to captivating realms filled with beloved characters and magical adventures. Let your imagination soar as you embark on a journey through Disney’s iconic worlds, where dreams come true and anything is possible.

1. Create a new ending: Rewrite the conclusion of your favorite Disney movie. What would happen if the characters made different choices or faced unexpected challenges?

2. Imagine a crossover: Bring together characters from different Disney movies and craft an original story where their paths intertwine. What magical encounters and friendships could arise?

3. Design a new Disney location: Invent a fantastical new realm that fits seamlessly into the Disney universe. Describe its stunning landscapes, unique attractions, and perhaps even the characters that inhabit it.

Immerse yourself in the mesmerizing world of Disney with its enchanting imagery that spans across decades of beloved movies. From the whimsical landscapes of Neverland to the breathtaking vistas of Arendelle, let your creativity soar as you explore these iconic Disney settings.

• Discover new inspiration: Enter a realm where talking animals, fairy godmothers, and magical spells come to life. Delve into the picturesque scenes of Fantasia, where dancing hippos and broomsticks captivate your imagination. Or venture into the depths of the ocean with Ariel and her underwater kingdom in The Little Mermaid. The diverse and captivating imagery will ignite your creativity in ways you never thought possible.
• Unlock hidden details: Dive deeper into the world of Disney and uncover the subtle details that make each setting truly magical. From hidden Mickey Mouse symbols scattered throughout vast landscapes to intricate architectural designs that bring castles to life, every frame is a masterpiece waiting to be explored. Take your time and let your eyes wander, for there is always something new to discover.
• Bring your favorite characters to life: Use the enchanting imagery as a backdrop for your own creative endeavors. Whether you’re an aspiring artist, a storyteller, or simply enjoy dabbling in crafts, let the iconic Disney settings spark your imagination. Sketch your favorite characters wandering through castles, paint the vibrant landscapes that served as the backdrop for their adventures, or even create your own unique Disney-inspired artwork.

When it comes to crafting unforgettable narratives , Disney’s beloved characters have always been a source of inspiration. From the courageous princesses to the mischievous sidekicks, each character brings a unique charm and depth that captivates audiences of all ages. By studying Disney’s character development techniques, writers can unlock the secrets to creating compelling and relatable characters in their own stories.

In the world of Disney, character development goes far beyond simply giving characters names and physical attributes. Disney’s storytellers understand the importance of breathing life into their creations, allowing them to grow and change throughout the course of their adventures. By exploring their journeys, writers can uncover invaluable lessons on character arcs, authenticity, and emotional resonance.

• Discover the key elements of successful character development
• Learn how Disney builds three-dimensional characters that resonate with audiences
• Uncover the secrets behind creating relatable and memorable personalities

By embracing the magic of Disney’s character development, writers can bring their stories to life and leave a lasting impression on readers or viewers, just as Disney has continued to do for generations. Whether you’re a seasoned writer or just starting out, this section will provide you with the tools and insights necessary to unlock the full potential of your characters and create narratives that will stand the test of time.

Disney songs have the magical ability to transport us to enchanting worlds and evoke a wide range of emotions. Whether you’re an aspiring songwriter, a storyteller, or simply a lover of music, harnessing the power of Disney songs can ignite your creative spark and unlock endless storytelling possibilities. Dive into the realm of songwriting and storytelling with these tips and tricks:

• Seek inspiration from iconic melodies: Break free from writer’s block by drawing inspiration from the captivating melodies of Disney songs. Listen attentively to the cheerful tunes of “Under the Sea” from The Little Mermaid or the empowering ballad of “Let It Go” from Frozen . By extracting the essence of these melodies, you can create unique and captivating lyrics that resonate with your audience.
• Tap into the emotional core of Disney songs: Disney songs are renowned for their ability to evoke strong emotions. Analyze the emotional arcs within classics such as “Part of Your World” from The Little Mermaid or the heartwarming “You’ve Got a Friend in Me” from Toy Story . By understanding the emotional depth and storytelling techniques behind these songs, you can infuse your own lyrics with poignant narratives that engage listeners on a profound level.
• Craft memorable characters and stories: Disney songs often serve as portals to immersive narratives and unforgettable characters. Follow Disney’s footsteps by creating your own captivating characters and weaving their stories into your lyrics. Embrace imagination, let your creativity soar, and allow your lyrics to transport your audience to imaginative worlds just like Disney does.

With the power of Disney songs as your guiding star, your lyrics can take on a whole new level of enchantment and captivate listeners in ways they never expected. Immerse yourself in the mesmerizing melodies and timeless tales of Disney, and let their magic inspire you to create your own musical masterpieces.

Dive into the realm of unforgettable Disney villains as we unravel the secrets behind their captivating personas. Learn from these iconic characters and discover the art of creating your very own antagonists that will leave a lasting impression on the hearts of your audience. Drawing inspiration from the likes of Maleficent, Scar, and Ursula, you’ll be equipped with the tools needed to craft compelling villains that drive your story forward.

Unleash your imagination and delve into the depths of villainy with our expert tips and techniques. Be it their menacing appearances or their captivating charm, creating a truly unforgettable villain requires attention to detail. Craft well-rounded characters by exploring their motivations, fears, and desires. Develop their backstories to generate empathy or engender fear in the hearts of your viewers. With these skills in your arsenal, you can create villains that challenge our heroes, leaving the audience on the edge of their seats, eagerly anticipating their next move.

• Discover the key elements of designing Disney-style villains
• Explore the psychology behind their motivations
• Learn how to make your villains relatable and three-dimensional
• Master the art of creating compelling backstories
• Immerse yourself in character development techniques

Join us on this journey to become a master of villain creation and bring your stories to life with unforgettable antagonists!

Immerse yourself in the enchanting worlds of Disney and take part in captivating quests that will ignite your imagination. With our latest feature, you can embark on exciting adventures of your own making, tailored specifically to your preferences and interests. Let the magic unfold as you explore hidden treasures, encounter legendary characters, and overcome thrilling challenges in the spirit of Disney’s adventure-filled worlds.

In this immersive experience, you have the power to weave tales that rival even the greatest Disney stories. Unleash your creativity and set out on quests that will have you interacting with iconic locations, mythical creatures, and beloved heroes. From traversing the mystical forests of Pandora in Avatar to joining forces with the mighty Avengers in Marvel’s Avengers , there is no limit to the adventures you can create in the magical realms brought to life by Disney.

• Endless Possibilities: Craft unique stories with infinite possibilities, where your choices shape the outcome of each quest.
• Iconic Landmarks: Explore breathtaking environments inspired by Disney’s most iconic worlds, from whimsical castles to futuristic cities.
• Legendary Characters: Interact with legendary Disney characters and unlock their secrets as you journey together.
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No matter your age, you’ll be transported to a realm where imagination knows no bounds. So, are you ready to embark on this unforgettable journey and create your own magical adventures in the legendary worlds of Disney? Let the quest for adventure begin!

Are you looking to bring a little bit of Disney magic into your everyday writing? Look no further! We have some exciting and creative ways for you to infuse a touch of enchantment into your stories, whether you’re writing a blog post, a short story, or even just a personal journal entry . Let your imagination soar and transport your readers into a world of wonder with these tips:

• Create captivating characters: Just like the beloved characters in Disney films, make your own characters come to life by giving them unique personalities, quirks, and endearing traits. Develop their backstories and motivations to make them relatable and engaging.
• Weave in magical settings: Take inspiration from the enchanting worlds of Disney movies and describe your settings with vivid details. Whether it’s an ethereal forest, a bustling city, or a whimsical castle, paint a picture with your words and transport your readers to a place where anything is possible.
• Add a dash of humor: Disney is known for its clever humor, so why not bring that same lightheartedness to your writing? Pepper your stories with witty dialogue, playful banter, or even a comical situation to add laughs and joy to your readers’ experience.

Ignite the spark of adventure: Disney stories are often filled with excitement and adventure, and you can do the same with your writing. Take your readers on a journey, whether it’s exploring uncharted lands, solving mysteries, or embarking on daring escapades. Make them feel the thrill and anticipation that comes with stepping into the unknown.

7. Delve into Disney Franchises: Explore the expansive Disney universe and embrace the multitude of writing possibilities it offers

Immerse yourself in the enchanting world of Disney and unlock the endless writing potential it holds. From beloved classics to recent blockbusters, the Disney universe is an unparalleled source of inspiration for writers of all genres and styles. Whether you’re a fan of fairy tales, adventure-packed animations, or heartwarming family stories, there’s something for everyone in the vast expanse of Disney franchises.

Uncover the magic of Disney princesses, with their iconic tales of self-discovery, bravery, and true love. Dive into the enchanting worlds of Cinderella, Belle, Ariel, and Elsa — each with their unique journeys and empowering messages. Tap into the reimagination of classic stories through live-action adaptations, like the breathtaking “Beauty and the Beast” or the captivating “Mulan.” Expand your imagination by crafting new stories within the established Disney universe, exploring uncharted territories or adding new layers to existing characters.

• Reimagining fairy tales with a modern twist
• Creating original stories set in the magical realms of Disney
• Exploring the backstory and untold adventures of beloved Disney characters
• Writing character-driven narratives inspired by Disney’s diverse cast
• Crafting intriguing mysteries or exhilarating adventures in Disney theme park settings

Whether you’re looking to write captivating children’s stories, engaging young adult novels, or even screenplays for Disney’s extraordinary films, the opportunities are as vast as Mickey’s ever-expanding universe. Allow your creativity to soar by delving into the magic, wonder, and sheer imagination that Disney has been enchanting audiences with for decades.

Are you a Disney enthusiast with a passion for writing? Look no further! We’ve curated a list of platforms and communities where you can share your Disney-inspired writing and connect with fellow enthusiasts. Whether you want to dive into the magical world of fan fiction, share your love for Disney through blog posts, or simply engage in conversations with like-minded individuals, these platforms offer the perfect avenue to express your Disney dreams.

1. Disney Fan Fiction Websites: Explore online platforms dedicated to Disney fan fiction, where you can showcase your imaginative stories set in the enchanting Disney universe. Connect with other talented writers and embark on collaborative projects that will transport readers to new Disney-inspired adventures.

2. Disney Blogging Communities: Join blogging communities centered around Disney that allow you to share your unique perspective and insights. Share your experiences visiting the Disney parks, discuss upcoming movie releases, or even delve into analyzing the symbolism found in classic Disney tales. Connect with a wide range of Disney enthusiasts who are eager to engage in thought-provoking discussions.

3. Social Media Groups: Social media platforms offer numerous communities dedicated to Disney. Seek out Facebook groups, Reddit communities, or Twitter chats where you can share your Disney-inspired writing and connect with a vast network of Disney fans worldwide.

Q: What are Disney writing prompts? A: Disney writing prompts are creative writing exercises inspired by the enchanting worlds of Disney. These prompts act as catalysts to spark imagination, helping writers explore various themes, characters, and settings found in Disney movies.

Q: How can Disney writing prompts benefit writers? A: Disney writing prompts offer writers a unique opportunity to tap into their creativity and develop their writing skills. By delving into Disney-inspired themes, writers can enhance their storytelling abilities, experiment with different writing styles, and broaden their imagination.

Q: Are Disney writing prompts only suitable for children? A: Not at all! Disney writing prompts can be enjoyed by writers of all ages. Whether you’re a child, teenager, or an adult Disney fan, these prompts cater to a wide range of writing abilities and interests.

Q: Can Disney writing prompts be used for multiple genres, not just fantasy? A: Absolutely! While Disney writing prompts often incorporate magical elements, they can be adapted to various genres such as romance, adventure, mystery, or even science fiction. These prompts provide a foundation for writers to infuse Disney-inspired concepts into any genre they wish to explore.

Q: How can writers make the most out of Disney writing prompts? A: To fully utilize Disney writing prompts, writers should let their imagination run wild. They can start by choosing a favorite Disney movie or character and develop a unique storyline based on that. It’s essential to think outside the box and add personal twists to create original narratives that reflect their writing style.

Q: Are there any specific writing skills that can be honed by using Disney writing prompts? A: Yes, Disney writing prompts can enhance various writing skills including character development, world-building, dialogue creation, and descriptive writing. By engaging in these exercises, writers can practice weaving intricate details, crafting meaningful conversations, and painting vivid pictures with words.

Q: Can Disney writing prompts be used in classroom settings? A: Absolutely! Disney writing prompts can be a fun and engaging tool for teachers to encourage creativity and foster writing skills in their students. These prompts can prompt discussions, inspire collaborative storytelling, or act as warm-up exercises, creating an enjoyable and educational environment.

Q: Where can writers find Disney writing prompts to start their creative journey? A: Disney writing prompts can be found in a variety of formats, ranging from online platforms, writing blogs, or even Disney-themed writing prompt books. These resources offer a plethora of prompts to help writers embark on their magical storytelling adventures.

Q: Can Disney writing prompts be used as a form of relaxation or creative outlet? A: Absolutely! Disney writing prompts can be a therapeutic and enjoyable way to relax and unwind. They provide an outlet for writers to escape into the enchanting Disney universe, immerse themselves in the imaginative process, and express their creativity without any limitations.

Q: Are there any additional tips for using Disney writing prompts effectively? A: One key tip would be to approach Disney writing prompts with an open mind and embrace the magic of Disney. Allow yourself to be inspired by the characters, settings, and themes, and let your writing take you on a unique journey. Don’t be afraid to experiment and have fun along the way!

In conclusion, Disney writing prompts offer a fun and imaginative way to explore the magical worlds of Disney, unlocking creativity and storytelling abilities. So, grab your pen and let the Disney magic inspire your writing adventures!

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Build the Ultimate Theme Park

Collaboratively design and describe a fantastical theme park..

Decide together on unique attractions, shows, foods, the layout of the park, and how visitors would interact with each feature. Develop a narrative of a day spent at your park from the perspective of a visitor. This prompt encourages detail-oriented writing, creativity, collaboration, and narrative development.

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End of School Year Creative Writing Prompt #1: The Theme Park Trip

Inspire your learners' creative writing with this fun, end-of-school-year writing prompt! Using the prompt as a jumping off point, students are invited to write a creative story about a strange sight from atop the Ferris wheel while on a class trip to a local theme park. Writers are encouraged to include captivating characters, vivid descriptions, and a compelling plot with clear conflict and resolution to bring their fictional tale to life. Ideal for students in fourth through eighth grade, this imaginative writing prompt offers a fun and seasonal opportunity to practice creative writing and storytelling skills.

This worksheet can be used independently or completed alongside our other worksheets in this series:  End of School Year Creative Writing Prompt #2: The Backpack Bonanza and  End of School Year Creative Writing Prompt #3: The Mysterious Message .

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Creative Writing Class

Short stories, poems, random creative writing..

Monday, September 26, 2011

Short story- lost at the amusement park.

5 comments:

Brooke, this is a great character study of a boy coming of age. The descriptions are really vivid and capture the boy's anxiety, the heat, the colors, the noise. I love how you describe everything in the park as seeming large and monstrous and strange. There are a couple of tense changes so watch for that, but overall, this is a satisfying story about a little boy facing his fears. Can't wait to see what else you come up with!

Great detailed information, I ll be visiting you more frequently, here is very interesting information. Ticket attractions in Orlando

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1002 words not short

DisneyTips.com Your Guide To A Great Disney Vacation

What is a theme park show writer, and what do they do.

Posted by: Andrew Friedenthal December 16, 2022

In the world of theme park and themed entertainment design, a huge variety of disciplines come together to make a ride, attraction, stage production, or, more generally, a “show” of any sort.

Some of the roles tasked with making these shows come to fruition are obvious. A lighting designer is responsible for the lights, a sound designer for the sound, an engineer for the technical aspects, and so forth.

But then there’s the more amorphous job titles that go into producing themed attractions. What does a creative director do? How does a concept designer differ from a scenic artist? Who, if anyone, could be said to be the “author” of an attraction?

Credit: Disney

RELATED :  So You Want to Be An Imagineer… Read This First!

These questions dig deeply into the art of theme park creation, and multiple books – plus entire college degrees! – have been dedicated to answering them. But if we focus specifically on the concept of an “author,” we find ourselves thinking in literary terms, which brings to mind the writer of an attraction, called the “show writer.”

Now, a show writer is definitively not  the “author” of an attraction, and in fact there really is  no such thing as an “author” in such a collaborative medium. But the show writer is  responsible for the many written documents associated with a ride or attraction, and their career is a fascinating one to examine.

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What Is A Show Writer?

To begin, how do we define the term “show writer”? According to Imagineer Alex Wright in the official Disney publication The Imagineering Field Guide to the Magic Kingdom at Walt Disney World: An Imagineer’s-Eye Tour , “Show Writing develops the stories we want to tell in the parks, as well as any nomenclature that is required. This group writes the scripts for our attractions, the copy for plaques, and names our lands, rides, shops, vehicles, and restaurants.”

Indiana Jones Adventure at Disneyland, Credit: Paula K

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That’s a pretty broad description, so if that isn’t specific enough, let’s look at how Universal Creative – basically, Universal’s version of Imagineering – described the show writer position in a recent job posting:

The Show Writer is responsible for creation, development and delivery of concepts, storylines, scripts and other creative writing materials associated with assigned attractions, rides, shows, area developments and other designated projects. In collaboration with the Show Producer, Creative Director and/or Director of Concept Development, will assist the team in the development of the overall guest experience, forwarding a strong and clear story structure to serve as a solid foundation for project development. The Show Writer is a highly creative, innovative, and organized thinker, able to communicate clearly and work both in the early phases of project development, to create various scenarios and solutions to plot challenges; and in the later phases of a project, when actual scripting, nomenclature or other specified deliverables are required. As a visual thinker and storyteller, is responsible to bring storytelling to life throughout guest experience, whether delivered via media, live performance, animated figures, guest interaction, or other show forms and technologies might be employed in a guest experience. Able to communicate to team clearly in multiple formats including story beats, treatments, scripts, animatics, storyboards, and project presentations. Able and available to support project’s various written material needs re summaries, creative intent documents, conceptual marketing materials, etc.

Credit: The Hollywood Reporter

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What’s the commonality between these two descriptions, one brief and the other expansive? In essence, both point to the central role that a show writer plays in telling the story  of attractions, lands, and theme parks, focusing on the words used to tell that story. Those words include the ones written on behind-the-scenes documents used to build theme park elements and the ones that will be heard by Guests as dialogue or read by them on signs.

What Does A Show Writer Do?

According to David Younger in Theme Park Design & The Art of Themed Entertainment , “During the development of an attraction, the Writer is often responsible for overseeing the story, may be responsible for voice talent and other casting, and will often deliver the story overviews in presentations, where those responsibilities are not taken by the director.”

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The show writer, then, is often the person tasked with translating the ideas of the entire team into a cohesive story, something that is particularly important with today’s attractions that focus so much on telling an explicit, immersive story. The writer does this by making sure that the entire design team’s creative energy is enshrined in documents that express the goals, themes, and intentions behind an attraction, and that storytelling beats experienced by Guests reveal those ideas to the audience.

Accomplishing this task is no easy feat, and it requires quite a few different types of documents.

What Kinds of Things Does A Show Writer Write?

• Story documents : Textual overviews of an attraction’s story that serve as a touchstone for the design team. They range from a brief high concept (1-2 sentences) to a conceptual overview (1-2 paragraphs), story treatment (1-2 pages), and finally, the full show script (sort of like a movie script for an attraction, complete with all narration, dialogue, spiels, music, sound, and special effects cues).
• Show guide : This is produced at the end of a project to create a record of the design intent for future designers and operators who will be responsible for any changes and upkeep to an attraction.
• Nomenclature : A show writer is also responsible for creating the names of everything in a theme park: rides, lands, stores, restaurants, characters, menu items, etc.
• Copy : The writer provides the text for the graphics department to use on plaques, signs, posters, and other such items throughout a Park, whether they are functional or simply background “eyewash.”
• Translations : The writer will – as best as possible – oversee the translation of a script into multiple languages when necessary.

Credit: Disney Tips

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How Can I Become A Show Writer?

You become a show writer the same way you become any other kind of writer – practice, practice, practice.

Spend as much time as you can write in as many different formats, genres, media, tones, and styles as you possibly can. If you can get paid for that writing, great! If not, writing for yourself – or for your friends and family, for the internet, etc. – still helps you work on your skillset and hone your craft.

The old saw that “luck is when opportunity meets preparedness” is partially true, in that even if the opportunity arises for you to be considered for a show writer position, if you don’t have an in-depth portfolio, then you will not be able to display that you’re prepared for the role. And while you’re polishing those writing chops, you should network as much as you can within the field of themed entertainment, seeking out writers you look up to and learning what you can from them (whether in a formal school environment or just through your own initiative), as well as making connections so that you become aware of job opportunities when they arise.

There are a lot of people who want to be show writers, many more than there are actual positions for show writers. So just embrace your hunger and desire for the role, make yourself as skilled at your craft as you can, and wait for your moment of opportunity.

Most importantly, have fun! If you’re not enjoying it, then you won’t have the strength or willpower to keep fighting for your dream job. But if you entertain yourself along the way, you’ve taken a huge step towards entertaining others, which is what a show writer has to do most of all.

About Andrew Friedenthal

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This comprehensive and useful resource includes plans and writing frames to help students design and evaluate a persuasive leaflet for a theme park.

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The Essential Guide to Soviet Playgrounds: Fun & Games in the USSR

Peeing Colors in Kyiv

Young Pioneer Camp

Pripyat Amusement Park

In this guide, we are drawing back the Iron Curtain to have a little look at life in the days of the Soviet Union. Initially, we’ll be looking at city playgrounds… but from there we’ll take a step back to examine other popular leisure venues spread far and wide across the former USSR. Many of these sites still enjoy regular use, while others have long since been abandoned — in which case we’ll be wading through the dust to uncover clues about their past.

So without further ado, allow us to introduce you to the Essential Guide to Soviet Playgrounds: our compendium of fun and games in the USSR.

SOVIET PLAYGROUNDS

Children’s playgrounds were prolific in the USSR. They formed an integral part of the urban landscape, and by the 1970s and 80s these basic metal affairs appeared in almost every park across many of the larger Soviet cities. They were built outside schools, beneath church towers, and on the side of roads.

As with many of the other fittings associated with the USSR, playground accessories were usually produced en masse at large manufacturing plants. As a result, there was a tendency for these to follow repetitive patterns and designs: with playgrounds and parks from Eastern Europe to Russia’s Pacific Coast often featuring identical sets of swings and seesaws, rockets and roundabouts, bridges and monkey bars.

We can probably all picture these playgrounds — rusted bars, simple metal frames planted in public spaces and painted up in rainbow colors. Contemporary Western visitors have likened these Spartan play sets to army obstacle courses, with their brutal construction and generous use of old tires.

Well, it’s not far from the truth. Their basic construction meant that Soviet playgrounds were cheap to produce, while social dynamics had an effect in dictating their widespread popularity; in many families both parents would work during the day, and so parks in the Soviet Union were often populated by unattended children. These easy playground set-ups provided the perfect solution.

At best, they were bland, but at worst these metal-framed horrors were potential death traps. It’s clear that many of these playgrounds would never have passed safety inspections in the West.

Looking at examples of these sites across the length of the former USSR, one soon notices an effect of individualization. While many of these playgrounds came from the same mould, it would be common for them to receive a different treatment in each town — personalized by the communities who used them. This could be as simple as a different paint job, but in many cases the locals would get creative. Sculptures were sometimes formed from wood or metal, even from large stacks and towers of car tires.

As towns and cities across the Soviet Union began adding their own embellishments to the standard issue playground sets, the results ranged from merely “distasteful” (such as this  installation formed from urinating children , in Kiev) through to others depicting creatures seemingly born from nightmares.

Next we’ll be taking a look at some of the stranger examples of Soviet playground design.

MYTHS, LEGENDS, & NIGHTMARE CREATURES

Many of the designs incorporated into children’s playgrounds in the USSR embraced themes of myth and folklore, with fantastical creatures or historical characters constructed from whatever materials were readily to hand. Some of the resultant images might not have been considered appropriate for children, however, if judged against Western standards.

In the West, we have comparatively reserved ideas about what constitutes a child-friendly image. Even our evil characters so often get the “Disney” treatment, becoming harmless caricatures rather than true vessels for terror. The Soviet architects, on the other hand, seemed to be designing creatures plucked straight from their darkest dreams… or perhaps, in some cases, from a particularly bad acid trip.

Take the following batch of photographs, for instance. These were taken at an abandoned Young Pioneer Camp , located in a forest just north of Moscow. The “Young Pioneer Organisation” was initially set up by Lenin himself — a similar concept to Baden-Powell’s “Scout Association,” though according to some commentators, these camps served to indoctrinate children with communist ideologies alongside their stated aim of enriching education and life skills. Different camps specialized in a range of subjects and fields.

The location pictured below, with its strange and often intimidating likenesses of creatures both factual and fictitious, may well have been involved in teaching one of the natural sciences.

If you want to see more you can read a walkthrough tour of the Young Pioneer Camp, or visit the Detskiy Dvor  community on Livejournal, dedicated to sharing images of peculiar children’s playgrounds. Next up, we’ll be moving on to take a look at another staple of entertainment in the Soviet Union: the circus. 

THE STATE CIRCUS

The circus was such a defining aspect of culture in the Soviet Union that sad clowns and dancing bears have, over time, worked their way into our collective cultural stereotypes for the USSR.

While the Marxist-Leninist State is largely remembered for the machine-like efficiency with which it managed its industrial and military efforts, the state was also responsible for catering to the entertainment of its citizens; and thus in 1919, in the midst of the Russian Civil War, came the nationalization of the Moscow State Circus.

When Lenin stepped in as Premier of the Soviet Union in 1922, his government promoted the circus far and wide across the USSR; in the years that followed, the Soviets would build more than 70 dedicated circus buildings (and by 1957 these were managed by the specially formed “Soyuzgoscirk,” or “Centralised Circus Administration”). In 1929, the USSR celebrated the opening of the Moscow Circus School. This state-run circus organization was the first of its kind anywhere in the world, and here students would train in the various skills and performance techniques of the trade.

This gave birth to a new form of elite; thousands of performers were employed by the state to work in its various circus venues, and these artists earned numerous benefits in return. Circus performers could often expect access to more desirable housing and retirement packages, in addition to childcare support, maternity leave, and even travel privileges.

One such performer was Oleg Popov . Popov graduated from the Moscow circus school in 1949, six years later going on to become the first USSR clown to perform for crowds in the West. By 1969, he had been honored with the title “People’s Artist of the USSR.” Now aged 83, Popov is still performing, and is perhaps the most famous circus clown in history.

Soviet circus buildings themselves tended to be grand, eye-catching monuments — their design often giving the impression of a saucer, a disc, or a crown. The most famous of these was, of course, in Moscow: the Great Moscow State Circus, or Bolshoi Circus.

Rising to a height of 36 metres above Vernadsky Prospekt, this grand monument was built in 1971 and able to accommodate as many as 3,400 spectators. Performance arenas were located both above and below the ground, with two shows daily.

Nowadays, the company has been privatized. Operating as the “Great Moscow State Circus,” the organization tours the world with a staff of several hundred performers. Moscow’s Bolshoi Circus, meanwhile, remains in the possession of the state, while many other circus buildings across the former USSR have been allowed to fall into ruin. 

The images below detail the decay at one such building: an abandoned Soviet circus in Chisinau, Moldova. Moldova is now an independent republic, but at the time the circus was built in 1981, it was recognized as the “Moldavian Soviet Socialist Republic.”

While this particular circus far outlived the Soviet Union before eventually facing closure in 2004, the design, layout, construction style, and even its interior decor are all highly reminiscent of those styles popularized by the USSR. 

TO INFINITY & BEYOND

To say that the Soviet Union was preoccupied with space exploration, would be an understatement. Putting men and women into space was high on the agenda, particularly in the later days of the Soviet Union — and the successes of the Soviet space program were lauded with monuments, parks, museums, and even postage stamps.

No surprise then, that the advent of roller coasters and other mechanical fairground rides was heralded across the USSR with a wealth of space-themed parks and funfairs. Take a look at this video for example, to see a rocket-themed ride at the Luna Park in St Petersburg… 

…and then take a look at this video , showing the results of a snapped cable which left ten passengers on the ride dangling high above the fairground and praying for their lives.

That brings us to one of the main concerns raised with Soviet fairground construction. Much like the playgrounds we started this guide with, there was a tendency for Soviet theme parks to be constructed with similarly simplistic components and with an apparently blasé attitude towards health and safety.

Though parks in Russia nowadays are governed by the RAAPA (Russian Association of Amusement Parks and Attractions), there are still countless fairground rides scattered across the country — and beyond, in the former Soviet States — whose construction dates back to the more ramshackle techniques of the USSR. With that in mind, one might think twice before getting onboard anything that looked like this .

Perhaps the most photographed of all funfairs built during the Soviet years is the Luna Park in Pripyat , deep within Ukraine’s Chernobyl Exclusion Zone. The park — consisting of a Ferris wheel, swing boats, bumper cars, and numerous other rides – was never official opened. Scheduled for a grand May Day opening in 1986, the Chernobyl disaster on April 26, just a few kilometers from the park, led to the full-scale evacuation of the city.

The only usage Pripyat’s Luna Park ever saw was several hours of operation on April 27, 1986, when the doors were opened prematurely to offer some small entertainment to the city’s residents, shortly before the official evacuation notice was broadcast.

Nowadays some areas of the heavily corroded park have been known to emit radiation signatures as high as 25 µSv/h — some of the highest readings in the whole city. It remains a popular destination for photographers, however, with the ferris wheel in particular coming to stand as a powerful visual symbol for the Chernobyl disaster. 

To summarize, the Soviet style of theme park design is notable for its ethos of attempting to put on a grand spectacle, but for doing so on an incredibly tight budget. The Soviet Union was notorious for its statues, monuments, and elaborate architectural facades, so often constructed from cheap materials such as concrete. Their fairgrounds were no different — entertainment venues whose over-the-top displays of cultural wealth belied the low-grade construction techniques of an impoverished state.

THE SOVIET LEGACY

It would be easy to end the guide here; but by way of an epilogue, it’s interesting to note just how far and wide the Soviet influence spread. At its height the USSR reached from Eastern Europe and the Baltic States right across Eurasia, down into the Caucasus, then all the way east until it brushed against the tip of Alaska. But its influence extended further still. Even countries which were not officially recognized as states of the USSR, still held very close ties; from Bulgaria in the west, to Mongolia in the east.

Playgrounds and funfairs in the style illustrated here became a common phenomenon not just in the countries where they were standard issue, but also in those that looked to Moscow for guidance.

Take the “Kulturpark Plänterwald” for example, an entertainment park opened in 1969 beside the River Spree, on the communist east side of Berlin. In later years it would become known simply as “Spreepark.”

Here we can see a similar proliferation of bare metal framework and simple mechanical rides to those featured in parks across the Soviet Union. It’s the same principal at play: a grand show of modern leisure facilities, for all the world a declaration of wealth and quality of life, but on closer inspection these attractions proved threadbare and occasionally questionable in their construction.

Then there’s North Korea. Still boldly flying the flag of communism  ”Kimilsungism,” the Hermit Nation’s love for amusement parks reads like a page straight out of the Soviet textbook.

There are three main funfairs on offer in the North Korean capital, Pyongyang, far more than one might expect from a city of this size. The Kaeson Park is the most modern of the three, opened in 1984. This 40-hectare park features giant swing boats, carousels and a high-speed vertical roller coaster, which unlike most of the city, are illuminated at night with bright and colorful lights.

The two older parks —  Mangyongdae and Taesongsan — adhere more closely to the designs laid down by the USSR. These large, sprawling parks feature rides constructed from bare metal frameworks, a brutal and industrial aesthetic complimented perfectly by ominous patches of rust and corrosion. Take a look at the images here — and then compare them to these fantastic publicity shots taken from the opening of the Mangyongdae Funfair.

And with that, we’ve reached the end of our roller coaster ride through the leisure venues of the Soviet Union. To play us out, here are a few more of those nightmarish playground designs from  Detskiy Dvor .

Sweet dreams!

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Dream Island: Moscow’s multi-brand, mega indoor theme park

Words:  Owen Ralph

| 10 min read

Dream Island offers rides and attractions , alongside a large shopping mall, multiplex cinema, concert hall, restaurants and more

After the launch of a new Hotel Transylvania attraction this spring, Europe’s largest indoor theme park , Dream Island in Moscow, is almost complete.

The presence of Russian President Vladimir Putin ahead of the park’s launch ceremony last February signalled the cultural importance of this privately backed, $1.5 billion project. However, it traded for just 18 days before a COVID-19 enforced closure. The park reopened last July with limited capacity and now Dream Island’s operators are planning future expansions.

The ambitious project was realised by businessman Amiran Mutsoev . Chairman of the board at Dream Island, he made his money in shopping malls and real estate with the Regions Group. But these are both crowded markets, especially in Russia. So Mutsoev set out to find another sector in which he could develop a niche.

To find out more about Dream Island, we speak to the park’s Technical Director, Ivan Scholl .

Entertainment, retail and more

Dream Island offers more than just a theme park. Beneath its seven glass domes, the 300,000 square metre building also houses a large shopping mall, multiplex cinema, concert hall, restaurants and cafés. The split is roughly 50:50 between entertainment and retail . In addition, the wider 100-hectare site features an outdoor promenade with family recreation zones.

A 4-star hotel, children’s yacht school, plus some more teen-friendly attractions are on the way in phase two.

One feature of Dream Island is a striking castle-like facade. According to the UK-based architects that designed it, Chapman Taylor, the look is based loosely on historic Kremlin architecture found in various Russian cities. It is also inspired by imposing Gothic buildings of Western Europe.

Bringing themed entertainment to Russia

“The market here is empty,” says Scholl. “There is no concept of a theme park in the minds of most [Russian] people. Some travel to Spain, to PortAventura. Maybe some travel to Disneyland Paris . But it’s not more than 5% of the people from our area.”

Now, Dream Island aims to change this.

Mutsoev was previously quoted as saying Dream Island, “Opens an entirely new chapter in the history of entertainment and commercial real estate market. Not only in Russia but the whole world!” Meanwhile, “Russia gets its Disneyland,” was how The New York Times described the park’s opening.

International IP and style guides

Dream Island has its fair share of intellectual property. After abandoning earlier plans to build a DreamWorks theme park in St Petersburg, Mutsoev turned his attentions to the Russian capital instead and adopted a multi-brand approach to IP. But his earlier efforts in St Petersburg had not all been in vain:

“Once we’d we signed the agreement with DreamWorks, it opened the doors to other IPs,” says Scholl. “They saw that if we were working with DreamWorks, we were serious.”

Dream Island offers visitors nine themed zones. Four of them are dedicated to globally recognised brands: Teenage Mutant Ninja Turtles, Hello Kitty, The Smurfs and Sony Pictures’ Hotel Transylvania . Other areas include the Snow Queen and Dream Race.

Then there’s Mowgli in Dino Land, which combines a Russian telling of the Jungle Book with a tried and tested Jurassic theme. Guests can also encounter Buratino, a local twist on the tales of Pinocchio.

“There were many cartoons made in Soviet times,” says Scholl, “but they are very abstract and there are no style guides. For the Teenage Mutant Ninja Turtles, we received a very bold album of pictures and stories from ViacomCBS. It explained why the characters are like this, who are their enemies, how the place should look. With this, it’s much easier to create a good place that really feels like you are in their world.”

Dream Island – not just another shopping mall

Moscow, of course, is known for its harsh winters. In fact, says Scholl, “It is relatively cold most of the year. And it is raining quite often; more and more I would say as the planet changes .”

Whatever the weather, recreation and retail are available 12 months a year at Dream Island. Guests can also stroll through its wide aisles unencumbered by bulky outdoor clothing thanks to what is claimed to be the largest coat check in the world.

Before they get to the theme park, visitors must pass through the shopping mall at the front of the building. The architectural facades, including replicas of the Colosseum in Rome and Gaudi’s ‘House of Bones’ in Barcelona, were also inspired by two mixed-use developments in Los Angeles, The Grove and Americana at Brand.

“The idea was not to do another shopping mall, because we are full of shopping malls [in Moscow],” says Scholl. “We wanted to create streets replicating different areas of the world. All under the glass roof so, regardless of the time of year, people can enjoy natural light.”

Urban regeneration and a new era of entertainment 

Walking distance from the Tekhnopark metro station and 10 minutes drive from the Kremlin, Dream Island is located inside Moscow’s third ring road, set on a bend of the Moskva River.

“The location is very good,” says Scholl, who began his career in the amusement industry at the Russian ride manufacturer Pax back in 2007. “When we were selecting the site, southeast of the centre, Universal Studios Moscow was announced, located on the same route but further out of the city.”

The Universal project seems unlikely to happen any time soon. The capital does already have some family entertainment centres and small outdoor amusement parks. Yet nothing on the world-class scale strived for at Dream Island. Themed projects are still few and far between in Russia, says Scholl. He cites Sochi Park, built for the Winter Olympics in 2014, as one of the few exceptions.

A strong vision for Dream Island

Phil Taylor from Team Leisure worked with the development team at Dream Island during the project’s early days:

“From the beginning, they had a strong vision to create a unique indoor park anchored by a range of international movie-based IP,” he says. “Given the complex licensing negotiations required to deliver that vision, it’s great that they’ve been able to pull it off, in such difficult market conditions.”

The theme park at the heart of Dream Island was designed by Cuningham in the USA, whose previous credits include projects for Disney and Universal. Land Milano provided landscaping, whilst guest throughput was calculated by the Italian company MIC (Mobility In Chain). Theming was provided by Russian companies including Iolla and Art Berendeevo Studio.

In total, Dream Island features around 35, rides, shows and attractions. Thrill-seekers can get their coaster fix on Shred The Sewers from Intamin , as seen in action above. This 559m long and 25m high LSM launch coaster features four inversions and reaches a top speed of 80km/h as it races through a New York City landscape inspired by the Teenage Mutant Ninja Turtles movie franchise.

Also featured in this area of the park are Baxter Stockman’s Hammer of Doom (SBF/Visa swing ride) and Kraang Prime’s Abyss (Fabbri freefall tower).

Dream Island’s rides and attractions

A second roller coaster is located in the Dream Race area. Named Race Of The Future, the spinning ‘mouse’ style ride by Fabbri features added VR content. Close by, Dream Grand Prix features 20 drivable cars by SB International.

One of the largest concentration of rides is within Mowgli In Dino Land. The selection here includes a Suspended Top Spin ( Huss Park Attractions ), Sky Fly (Gerstlauer), Cobra ( Zamperla Disk’O), City of Monkeys (Zamperla Magic Bikes) and Lianas ( Sunkid interactive tower).

Opening soon will be a flying theatre called On The Wings of the Wind. This will feature a 72-seat Movie Base XS system from Huss, supported by AV from Kraftwerk Living Technologies (KLT).

KLT was also responsible for the 4D theatre Snow Queens Library. Twirling its passengers over the same area of the park is the Ice Carousel (wave swinger) by Preston & Barbieri. The Italian manufacturer also supplied a teacup style ride called Sweet Carousel. This is located in the Hello Kitty area, together with a children’s beauty parlour.

In Smurfs Village, families can walk between colourful giant toadstools as they seek out attractions including a custom-themed Polyp from Gerstlauer and Gargamel’s Tower – as seen above. Based on the evil wizard of the same name, this features an enclosed Drop ’n’ Twist tower ride from SBF/Visa with added interactive elements from Lagotronics Projects .

Dark ride and holographic shows

Opened this spring, Hotel Transylvania is the first large scale dark ride of its kind in Russia. The attraction had been due to debut along with the rest of Dream Island last year but was ultimately delayed by the pandemic.

Unable to enter Russia for several months, representatives of ETF Ride Systems and animatronic specialist Heimotion had to commission the ride under remote supervision. The results are worth the wait, says Scholl, and it’s quickly become one of the park’s most popular attractions. 

“There’s no height limit, anyone can do this. We wanted to create not only a ride but a story, starting from the moment you enter the castle. There is continuously something happening around you, immersing you into the haunted theme. The ride itself lasts about three minutes. But together with the pre-show, you receive something like 10 minutes of entertainment.”

Holographics are used in two of the park’s shows, featuring the characters Buratino and Mowgli respectively.

Dream Island’s attendance goals

In addition to the theming, lighting, colour and sound provide each area of the theme park with its own ambience.

When repeat visitors to the theme park, shopping mall and supporting facilities are taken into account – and the pandemic has subsided – Dream Island is expected to generate as many as 70 million visits a year. Or 7.5 million for the theme park alone.

Daily capacity is currently capped at under 50%, but attendance has come close on several occasions. Helping swell the numbers were the roughly 300,000 medical workers who have enjoyed free park admission over the past year.

“We were doing relatively good numbers until the second [COVID] wave came,” says Scholl. “Now we are recovering quite well. I am not sure about attendance by the end of the year. What we can say is we will not be the top in Europe, but we will appear in some charts.”

Tweaking the ticketing

In February, the park introduced a new pricing system. This replaced the previous fixed price model, which worked out at around $150 for a family of four. “They were not ready to spend this money without knowing the product,” says Scholl.

Now guests can choose from an all-day ticket, a premium fast pass option, or an entrance ticket/card, on which can they pay for rides or upgrade as they go. The system was provided by Infomatika, which provides metro/subway ticketing in various Russian cities and also worked on the 2018 FIFA World Cup.

The entrance card is available for just 500 rubles ($6.85), or 700 rubles ($9.50) at weekends. This has significantly increased footfall inside the park. Buyers of these tickets do not do as many rides as those who buy the all-day option. But they do come back.

“We are learning,” says Scholl – and so are his guests. “This market is not like the UK, Germany or France. “They are not used to queues , and they do not understand rides in ‘boxes’. They are used to flat rides, where you can first see the experience and then pay for it.”

Dream Island’s expansion plans

Scholl describes Dream Island’s overall ride offering as “family thrill ”. To address a lack of attractions for those between 0.9 and 1.1 metres in height, management has already begun adding rides. This includes an evergreen that was missing from the line-up at launch: bumper cars.

Scholl won’t give a firm date for the expansion of the park’s outdoor area. However, it would be understandable if plans were derailed somewhat by the pandemic.

“At the moment we are in pre-masterplan, working with our art director to define the rides and spaces. We see the necessity to build demand during warmer periods. We would like to offer more thrilling attractions to widen the audience to teenagers and young adults.”

What about Amiran Mutsoev’s plans, reported elsewhere, to develop further theme parks and entertainment facilities elsewhere in Russia? “Let us first build this expansion,” says Scholl.

Images courtesy of Dream Island, Intamin and Lagotronics Projects

• Theme park management
• Theme park investment
• Theme park suppliers
• Themed entertainment
• Theme park rides
• Theme park design
• Theme park construction

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Russia Gets Its Disneyland, a Cold War Dream Come True

Developers are banking on attracting Moscow’s rising middle class. “But will they sell emotions, like Disneyland?” a mother of two girls asks.

Supported by

By Andrew E. Kramer

Photographs by Maxim Babenko

• Feb. 29, 2020

MOSCOW — A young girl finds a magic necklace made of mushrooms, but then an evil gnome steals it. Adventure ensues. According to her creators, Alfreya, the hero of a new children’s book who was conceived for Russia’s first theme park, is “an ordinary girl 10 to 12 years old with large, thoughtful eyes.”

One thing she is not is a Disney character. Opening a real international Disneyland in Moscow would be out of the question amid the current political standoff with the United States.

But Russia’s decades-long quest to build a theme park, which began during the Cold War rivalry with the United States, is finally reaching its fairy-tale ending.

The $1.5 billion Dream Island , when it opens on Saturday, may certainly remind some visitors of Disneyland. In place of Elsa from “Frozen,” there will be the Snow Queen, and in the Russian version of “The Jungle Book,” the jungle is populated by talking dinosaurs. Developers say the park will be inhabited by dozens of fairy-tale characters, all domestically produced.

Dream Island doesn’t mind if you invoke Disneyland to describe the park, but will point out that it has no connections to the Happiest Place on Earth.

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